{"title":"Pre-Order: Jan 29, 2027","description":null,"products":[{"product_id":"pre-order-rush-farewell-to-kings-limited-edition","title":"Pre-Order: Rush - Farewell To Kings [Limited Edition]","description":"\u003cp\u003eRush Amplifies It's Sonic and Narrative Vocabularies on A Farewell to Kings: 1977 Album Features Bass-Pedal Synthesizers, Exploratory Arrangements, and Standout ProductionGet Closer to the Heart and More: Mobile Fidelity's Numbered-Edition Hybrid SACD Presents the Detailed Record in Clear, Dynamic, Lifelike SoundA multi-part epic that travels to outer space, a tune inspired by a Samuel Taylor Coleridge poem, a permanent radio favorite, a band embracing art without limitations, and much more: Rush explores thrilling directions on A Farewell to Kings. Making good use of rare down time and favorable circumstances at Rockfield Studios in Wales, the Canadian trio advances the incorporation of electronic instrumentation into it's work and expands it's vocabulary on a landmark renowned for adventurousness, musicianship, songwriting, and sonics.Mastered at Mobile Fidelity Sound Lab's California studio from tape contained in boxes that show both 'master' and 'safety copy' on their labels, and housed in mini-LP-style packaging, MoFi's hybrid SACD presents the group's 1977 effort in definitive sound on disc. Transparency, dynamics, and presence have tremendous value on A Farewell to Kings, especially given how the album was produced. It's prolific detail extends to the colors, textures, and tones in songs - and how they fueled Rush's ambitions, from recording outside in a courtyard to nailing the complex 'Xanadu' in a single take. Hear the results like never before on an album Geddy Lee believes holds up as well as any in the Rush catalog. 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The track list draws from the original soundtrack's most recognized pieces and centers on two major regions: Giran and Aden.Early on their journey, players venture into the world's southern territory of Giran. As they explore the region's villages, tracks such as \"\"Crossroad at Dawn,\"\" \"\"Shepard's Flute\"\" and \"\"Caravans Crossing\"\" help create a calm, grounded atmosphere that reflects the peaceful nature of travel through the area.In contrast, the world's northern territory of Aden reflects the game's grander, more conflict driven spirit. As players continue their journey, the Elven Village track \"\"Unicorn's Rest\"\" marks a turning point, gradually giving way to darker settlements and imposing castles through standout tracks such as \"\"Knighting Ceremony\"\" from the iconic Aden Castle and \"\"Expedition March\"\" from the Town of Oren, where tension, warfare and large scale conflict take center stage.Across both regions, the tracks are more than background music; they shape how players experience each location, from villages and hunting zones to moments of intense combat. 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It ended up on everything he touched, and soon he was, in his words, \"\"the fretless guy\"\" in his new circles. It was the latest chapter in a career built on collaboration: acclaimed duo albums with Dawn Richard, a long-running partnership with Dave Harrington, recent work alongside Joseph Shabason, and years touring with artists like Empress Of, Kimbra, and Twin Shadow. Two more years of restless collaboration followed the move, spanning jazz, pop, folk, and even metal, but none of it cohered into the statement he was searching for. The turning point came when Harrington invited him to open dates on DARKSIDE's US and European tour with one stipulation: it had to be a solo fretless bass set. Thrilled and terrified in equal measure, Zahn built the set, and when the tour wrapped he hid away at home and wrote Please Don't Break Your Own Heart.The result is something quietly radical: an album made almost entirely of fretless electric bass that never once feels austere. It's bursting with melodies that lodge themselves in your head for days, all delivered by Zahn's rubbery, evocative playing. The bass does the singing here, bending and breathing with an almost speech-like expressiveness, carrying pop hooks and jazz phrasing in the same gesture. Opener \"\"Tearless\"\" floats on synth-hued harmonics, \"\"Flowershop\"\" is playful and plaintive at once, and the title track gathers itself into a gently danceable groove. There's an unresolved ache running through these songs, but it never curdles into self-pity. This is soulful music, warm-blooded and at times unapologetically sexy, closer to a slow dance than a meditation. Subtle rhythmic loops and distant swells of distortion lend the record a cinematic quality, emotional rather than academic. Two covers reveal the album's lineage and it's heart. Zahn transforms The Blue Nile's \"\"The Downtown Lights\"\" and John Martyn's \"\"Couldn't Love You More\"\" into wordless ballads where the bass takes over the vocal line entirely, distilling each song to it's melodic and emotional core. They sit naturally beside his originals, a testament to how complete this language has become for him.The album places Zahn firmly within the new generation of artists, alongside Sam Gendel, Sam Wilkes, Jeff Parker, and Alabaster DePlume, who are dissolving the borders between jazz, ambient, and pop into something personal and unguarded. But for Zahn, the stakes are more intimate. The title is \"\"a reminder to stay true to myself in the musical process and in life,\"\" he says. 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It's bursting with melodies that lodge themselves in your head for days, all delivered by Zahn's rubbery, evocative playing. The bass does the singing here, bending and breathing with an almost speech-like expressiveness, carrying pop hooks and jazz phrasing in the same gesture. Opener \"\"Tearless\"\" floats on synth-hued harmonics, \"\"Flowershop\"\" is playful and plaintive at once, and the title track gathers itself into a gently danceable groove. There's an unresolved ache running through these songs, but it never curdles into self-pity. This is soulful music, warm-blooded and at times unapologetically sexy, closer to a slow dance than a meditation. Subtle rhythmic loops and distant swells of distortion lend the record a cinematic quality, emotional rather than academic. Two covers reveal the album's lineage and it's heart. 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Voices overlap, rhythmic structures develop an almost mechanical force, and layers of sound evoke analogue synthesizers. Then everything falls away: near-total silence, the breath of the bellows, a single frequency. Sounds emerge that can barely be traced back to any particular instrument. The album is built entirely around the physical relationship between one musician and one instrument. No loops, nom electronic layers. Everything you hear comes from an uncompromising exploration of the instrument itself. 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Their third and final studio album \"\"Could It Be Different?\"\" (released in 2018) was an internationally acclaimed release that was packed with hope and good will, passionately championing LGBTQ+ rights and inclusivity years ahead of the public discourse. Now, with the political climate growing ever more hostile and LGBTQ+ rights under threat around the world once more, the time is ripe for The Spook School's return with new album \"\"Like A Heartbeat;\"\" recorded with Rod Jones of Scottish rock titans Idlewild at his Post Electric Studio in Leith, Edinburgh, it's undeniably The Spook School's most fully realized, cohesive, and sonically refined record to date.Citing the likes of Radioactivity, The Beths, Alvvays, Swearin' and Bad Moves as some key sonic influences on their latest writing, along with long-term loves Thin Lizzy, The Hives, The Walkmen, Pixies, Pavement, and Buzzcocks. \"\"We really wanted to make sure we came back feeling urgent and energised,\"\" says the band's Nye. \"\"We didn't want people to listen and think 'oh they've had a break, they're a bit older, mellower and chilled out now'. 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Self-produced, the process began with demos cut around the Lessons for Mutants sessions that were never meant for release, and that unguarded quality survived into the finished record. She returned to the same studio, band and tape machine to expand them, adding new songs and arrangements before finishing the album in her bedroom.Frog in the Belly of a Snake moves between lush full-band arrangements and stark a cappella recitation, with psych-folk and indie rock alongside synthesizers, dense vocal harmonies and field recordings gathered outdoors. An album highlight is the twelve-voice Cosmic Serpent Choir, an ensemble Warren assembled that includes Sadie Dupuis, Vera Sola, Elvis Perkins, Rain Phoenix, Cornelia Murr and Chris Harford.The record asks what feeds us, what consumes us, and what happens if the boundary between the two dissolves. Warren has lived with chronic illness since childhood, and years of touring through fatigue and pain led her to conclude taht the career she'd worked hardest to build was taking more than it gave back. Her way back in came through farming, foraging and plant medicine. The songs can be meditative, playful, unsettling and unexpectedly joyful, finding liberation in impermanence and comfort in cycles of death and renewal.Born in the US and currently living in Wales, Warren has enjoyed critical acclaim on both sides of the Atlantic - from Rolling Stone to UNCUT, from the New York Times and Pitchfork to Under the Radar. Radio buzz has followed, with accolades from NPR and BBC 6 Radio's Huw Stephens. 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Warren has lived with chronic illness since childhood, and years of touring through fatigue and pain led her to conclude taht the career she'd worked hardest to build was taking more than it gave back. Her way back in came through farming, foraging and plant medicine. The songs can be meditative, playful, unsettling and unexpectedly joyful, finding liberation in impermanence and comfort in cycles of death and renewal.Born in the US and currently living in Wales, Warren has enjoyed critical acclaim on both sides of the Atlantic - from Rolling Stone to UNCUT, from the New York Times and Pitchfork to Under the Radar. Radio buzz has followed, with accolades from NPR and BBC 6 Radio's Huw Stephens. 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Self-produced and self-engineered, the record was created largely while the band were in transit, recorded at Clouds Hill Studios in Hamburg between dates on a European tour. Where its predecessor Midnight at The Valencia looked outward toward the romance and tantalising borrowed-glamour of Americana, Second Sign of Life turns its attention closer to home. The result is a more immediate, stripped-back and introspective record rooted in the band's British surroundings and shaped by the strange, in-between spaces of life on the road. 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